It's been a while since the last BackTrack episode, but our series on the music of video games returns this Thursday at 7:00 PM PST with Composing The Banner Saga. We catch up with composer Austin Wintory, best known for his work on Journey, to find out how he developed the sound for Stoic's tale of wearied warriors marching to outpace the horrors of war.
We talk with Austin about how working on a project funded through Kickstarter impacted his approach and responsibilities, learn how he came to work with musicians like The Dallas Winds and Malukah, and find out that Icelandic is not a language to be taken lightly. The Banner Saga is full of beautiful heart-wrenching songs, and I'm happy to share the story of how its score came together on our next episode tomorrow night!

Now that classic content is finally making its way to Codemasters' yearly Formula 1 titles with F1 2013, I decided to catch up with the team to learn what's changing in this year's game and what challenges they had to overcome to bring these historical cars and locations to players today. Just about every F1 fan has asked for a chance to experience these vehicles, including relative newcomers like myself. Creative Director Stephen Hood was gracious enough to answer a few questions on what lies in store for this year's title and the scope of these historical additions.
GT: From 2012 to 2013, what kinds of changes in the regulations require updates in the game?
Stephen Hood: The major change has been in the tyre compounds and their respective wear rates. As you will have seen the tyres have been a huge area for debate this year. While you won’t see the tyres in game explode, such as they did at Silverstone, we will look to recreate the wear of the various compounds meaning that players, when doing longer race distances, will have to manage how they use their tyres and this will dramatically affect their race strategy.
We have also had to amend the use of DRS (Drag Reduction System) in the game to reflect the change in rules. Now you can only use DRS within the allotted zones in all sessions whereas last year you could use DRS at any stage during Practice and Qualifying.
GT: What was the process you had to go through to be able to include this classic content in F1 2013?
SH: We have wanted to include classic content ever since we signed the license to make the official game back in 2008. It is comfortably our most requested feature, both by the press and fans of the game.
It has been a very complicated process and it has taken a long time to secure the relevant licenses. Many of the teams have changed ownership several times in the intervening years, some no longer exist. There are issues with sponsorship and liveries as we cannot show alcohol or cigarette sponsors for example.
There have been a lot of discussions with teams, owners, drivers and F1 personnel over a number of years. Our licensing team has done an amazing job to secure the content that they have for F1 2013 but we see this as very much the start point for us and classic content.
GT: Are all the new modes from last year returning or have some been chopped in favor of F1 Classics?
SH: We haven’t lost anything, although Champions Mode has changed a little bit (more on that in the future). We have actually brought Grand Prix Mode back as well. This allows players to create their own F1 season by stringing a number of races together. They can also play through an entire season as one of the licensed drivers which is something that people really missed in our game last year.
GT: Aside from KERS and DRS. what are the key differences in handling these classic cars?
SH: The classic cars feel completely different to the modern day F1 cars. They’re far less aerodynamically advanced so they are less stable on the track and you need to be more careful, especially through the faster corners. Some of the 80s cars for example are turbo charged so initially when you accelerate you get turbo lag and then all of a sudden it kicks in and it’s like being strapped to a rocket. It’s a completely different experience and an awful lot of fun.
GT: Out of all the eras why did you focus on the 80s? Why is the 90s content only for limited edition?
SH: As I said earlier, this is very much a start point for us as far as classic content is concerned. We decided fairly early on that we should focus on eras rather than specific years as this enabled us to have a number of iconic cars. Most of the people who play our games will have fond memories of F1 in the 80s and 90s whether it was through watching it on TV or playing Scalextric as children. Therefore it made sense for us to start there as there are some great cars and phenomenal drivers for us to work with.
Every copy of F1 2013 will ship with all the 2013 teams, drivers, cars and circuits but will also have our 80s content on disc. We have five classic cars from Williams, Ferrari and Lotus as well as drivers such as Nigel Mansell, Emerson Fittipaldi & Mario Andretti. The 80s content will also include classic Brands Hatch and Jerez.
For the first time we are able to offer a Limited Edition version of the game called F1 2013 Classic Edition. This includes all the 2013 and 1980s content, plus extra cars, drivers and circuits from the 1990s. In the 90s pack you get six cars from Ferrari and Williams and drivers such as Alain Prost & Jacques Villeneuve, Eddie Irvine and David Coulthard. The Track Pack lets you race on Imola and Estoril. It’s the ‘must own’ version for the fans.
Both the 1990s Classic Pack and the Classic Track Pack will also be available as DLC shortly after release so that people who only bought the standard copy of the game can bolt on the content if they would like it.
GT: Is the content essentially a "dream team" from that period? Will players be able to recreate any specific races?
SH: By recreating an era rather than an individual year we were able to cherry pick cars that we wanted to include. Obviously every F1 fan will have their own opinions about which cars and drivers should be in the game but we also had to work within licensing boundaries as many of the teams from the 80s are no longer in existence and sadly some of the drivers are no longer with us.
Teams have been chosen on their historic significance, with specific cars not simply chosen on performance. Each team will race with at least one of the original drivers piloting their cars (where possible), with a former ‘legendary’ F1 guest driver piloting the second car. Former ‘team legend’ guest drivers have been allocated based on a strong and obvious association with that particular team, and as such F1 Classics reunites ten legendary F1 World Champions from across the years.
Historic circuits have been selected for layout variety, popularity and era association and are ideally matched to the cars on offer; Brands Hatch, Jerez, Imola and Estoril.
It's great to get a better understanding of what's in store for this year's F1 game, and it sounds like there's only room to grow in the years to come. Check out our preview below to see the game in action, and keep an eye on GT for more info on F1 2013 before it launches on PC, PS3 and Xbox 360 in early October.

This morning, 2K Games released the latest in a string of new media for The Bureau: XCOM Declassified. Starring Dominic Monaghan, the new trailer is essentially a short film, chronicling an agent's sense of loss after his personal and professional lives have tragically crossed paths.
The trailer doesn't really move me. Perhaps in a way it feels a bit obvious, but on a grander scale, I've just stopped caring about this game altogether. It's hard to wrap my head around the idea that this game is finally coming out on August 20th, when just four months ago, it was essentially vaporware, with little shown since E3 2011.
I've had the privilege of seeing three very different versions of the game in action over the years, and it has changed considerably each time.
E3 2010: This is the original vision of the game we were given when XCOM was a brand that most people had forgotten about or perhaps never even heard of. Coming from the studio behind BioShock 2, this FPS vision had more similarities to that franchise than its namesake. Behind closed doors, there was still talk about managing resources and improving technology at base between missions, but the general public didn't see much more than blasting blobs in the suburbs. Understandably, fans weren't happy with what they saw.
E3 2011: The next year, XCOM had already changed considerably. While still in first-person, you had to issue tactical commands to squad mates, take cover, and make decisions on the battlefield about whether or not to use alien technology to win the current firefight or salvage it for research and future battles. Last year, after this XCOM went quietly underground, we were treated to the incredible XCOM: Enemy Unknown, which proved that in the right hands, turn-based strategy is indeed still a force to be reckoned with.
So after fans were given the "real" XCOM, it feels a bit strange for this hybrid action game to resurface as The Bureau: XCOM Declassified.
Here's a recent walkthrough, and again, the game has changed significantly. Now that it's in third-person, it actually bears an uncanny resemblance to Mass Effect as you pause the action to distribute commands to two accompanying squad members. It's perhaps the closest this game has been to traditional XCOM, but with less than a month until launch, it feels like it's dropped off players' radar despite the hefty video push.
What are your feelings on The Bureau? Are you more interested in the latest overhaul? Would you have preferred one of the earlier versions? Or are you sticking with XCOM: Enemy Unknown?

After a solid two months, we've made it to the end of BackTrack's spring season, featuring eight episodes of games with excellent music. As the show's producer it's been a long road with a lot of late nights and a fair share of performance anxiety, but I've loved having the opportunity to share these pieces with all of you. Read on for some of my thoughts on each episode and to let us know what you think of the series as a whole.
First let me talk about this whole idea of moving to seasons. If you hadn't noticed, much of GT is shifting towards more original content and predictable scheduled programming so people can invest in their favorite shows and know when to expect the next episode. Shows like Pach-Attack! and Bonus Round have been doing this for years, but a lot of series involving those of us in editorial have been posted somewhat haphazardly as we got ideas for episodes here or there.
Between reviews, flying to preview events, reacting to breaking announcements, and other day-to-day responsibilities, there's a lot of demand on our time. So I decided to take this seasonal approach because it allows me to plan out a series of episodes and get the ball rolling early. Then when something does come up, it's ok because we either have an episode ready or we at least know what's on deck so we don't have to scramble and rush something out. Having that downtime between seasons gives me a chance to get out of that high adrenaline mode, think about what I want to do for the next batch and plan out the more involved episodes like Composing BioShock Infinite.
Looking at how this spring season went, I think it's mostly been a success. It hasn't blown up to Kyle Bosman levels, but considering that people seem to avoid great videos about music like the plague, we've held our own. We were able to get as many episodes up in two months as we produced in all of 2012, we covered a pretty wide range of titles, and only one episode was delayed, due to factors outside of our control. It still seems like the ups and downs are more in line with the popularity of the featured game, but I've definitely noticed some of you coming back week after week. Now let's move on to some thoughts on each of this season's episodes.
Composing BioShock
While the show had been in the back of my mind, the opportunity to talk with BioShock composer Garry Schyman was really what kicked the whole season in motion since I didn't want to throw two episodes out there and disappear again. Of course the main goal was to tell the story of BioShock Infinite, but we also wanted to take the opportunity to dig in to the original BioShock as well. I also knew that you can't talk about the music of BioShock without talking about the period songs. Thankfully, my contact with Garry also got me in touch with BioShock's audio director, Emily Ridgway who made time to talk with me despite being in the midst of a hectic move. This is the longest episode we've done yet, and there are a lot of interesting stories about the techniques and philosophy that drove BioShock's sound. "NO ELECTRONIC MUSIC"
Super Metroid
This is the first episode I actually got done, and I was a little surprised at how quickly I got through it. When a game and its music takes up such a big place in your mind, sometimes it's easy to forget that it's actually not very long. Super Metroid was the first game I'd ever played on a big stereo system, and the music had a huge impact on me. Playing through the oceans in Maridia late at night with the lights out was the first time I'd ever truly been creeped out by a game. I was mostly writing from my own emotional experiences on this episode, but it's interesting how writing about something can pull out observations I'd never thought of before.
Composing BioShock Infinite
This was the big one I'd been preparing for, with about two months from when we first started discussions to when the episode finally aired. While I got the interview with Garry done well ahead of time, it seemed like everything else that could go wrong did go wrong, leading us to delay the episode a few weeks. Despite all that, it was worth it. Schyman's music in BioShock Infinite is incredible, and Jim Bonney played a huge role and got together all those crazy cover songs. I'm really happy with how the episode turned out. Believe it or not, when I spoke with Garry, I actually hadn't heard any of the music whatsoever. So it was an interesting process of having these songs described to me and then finally getting to hear them come to life.
Score Preview: Company of Heroes 2
Depending on how you interpret it, the name BackTrack can seem to imply that we're only looking at retro titles or at least games that have already come out, but I've always seen the show as a one-stop shop for everything regarding music on GT. I wanted to do at least one score preview this season, but of course, I had no idea what was going to be available for us to hear for the first time. Company of Heroes 2 isn't something I would have normally have had on my radar, but I got the samples, and Cris Velasco's main theme definitely tugs on those heartstrings. Plus, I really love the chanting vocals in March into Hell.
Batman Returns
I wanted to get some other people involved in the show so I asked Brandon if he'd do an episode on "anything he wants." I was a little surprised when he brought up Batman Returns – "isn't that just the music from the movie?" I thought maybe with a few weeks he'd come up with something else, but he stuck with it, and it's actually a really interesting piece about overcoming the challenges of adapting those themes to the 16-bit hardware of the day.
Score Preview: Remember Me
Ah, why haven't more of you watched this episode? I talked with composer Olivier Deriviere about the score earlier this year and was really intrigued by his idea of taking the orchestral recordings and distorting them to sound glitchy and electronic, especially considering how well that ties in with the themes of the game. The interactive combat music is something I noticed too while playing a preview build, even before I spoke with Olivier. So I was really happy to get the chance to showcase some fresh music from the game. It seems to have more divisive reactions from people, but I definitely think it's worth a listen.
Streets of Rage
This is the another episode I outsourced to one of my coworkers – this time to Patrick Morales. I actually started prodding him about this last year, and I finally got it out of him. Like Brandon's episode, this is a game I likely would have never done myself, but I love how it turned out. I've played the episode over and over just because I got addicted to that music, and I really like how much fun the editor had with some of the visual cuts.
Chrono Cross
The Season Finale! This episode came last for a reason. I was terrified of it. Terrified! Putting that title down on the official schedule was like signing my name in blood. I know that this is a score that a lot of people consider one of the best of all time. It's definitely one of my favorites from the era, and it's just an absolutely massive undertaking. You don't want to screw that up.
I intended to start well in advance to spread the load out over a few weeks, but being intimidated led me to putting it off even with that soundtrack sitting on my desk. Once I finally got started, I took notes on all 67 songs, then started organizing them on similar themes, making one hard cut after another until I got down to somewhere in that 15 minute range.
Once I had a script sorted out, then of course, I had to tear through the game to find all the shots where that music played, which led to some interesting discoveries. Thank goodness I still had a save file for New Game+, but it still took a bit longer than I anticipated so I ended up staying up until after 3:00 AM on the last night to get it done. Still, it was absolutely worth it.
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Again, I want to send a big thank you to everyone who's been watching. I really hope BackTrack can become a place where you can look to us for recommendations on great music in games. If you like it, seriously, tell your friends. It's a very niche topic, so it really does need your support. Be sure to let us know what you think of what we've done so far and the types of things you'd like to see in the comments below.

Last week we got an up-close look at GRID 2's Live Routes system by comparing seven different runs through the Paris track. In Live Routes events, the system dynamically changes the starting line and course direction at various junction points throughout the track. So you never know what to expect. We had some additional questions on how the system works, and followed up with GRID 2 Producer, Iain Smith for some answers.
DB: Why did you create this system?
IS: LiveRoutes was a by-product of wanting to offer more variation in what players see and play in the game. We were inspired a little by open world titles, but actually wanted to retain the sense of a “race” and avoid creating something to explore just for the sake of variety. This was a great alternative – really pulling in all the different parts of the cities that we’ve built but linking them in such a variety of ways that players will hardly ever see the same corner combinations come up twice.
DB: Is the course set when you start a race or does it change from lap to lap?
IS: The course is generated as you enter into the race, setting it out in front so that we can time the events to end at the predefined distances. What the system is doing so well, is streaming the geometry and track layout in piece by piece up in front as different components join on to one another.
DB: If a player restarts, does the course change again?
IS: If they restart, they will get the same route again.
DB: Did this create any new challenges in designing AI?
IS: Absolutely. Ensuring the AI could deal with changing pathways throughout a session was one of the biggest challenges. Some of the foundations of what made our AI work was the AI lines for the set tracks – things we always knew all the permutations of. Instead, the AI have to be able to move from one AI line onto another seamlessly and whilst still acting realistically on track and retaining their other characteristics like aggression or their tendency to crash or make mistakes. A huge amount of work and effort went in to making the system work in this sense.
DB: How do live routes impact multiplayer?
IS: LiveRoutes should work seamlessly online. I’ve seen a lot of comments about “what happens when the route changes in front of you, don’t you see it?” – but the game changes things well out of the sight of the player – you should never know how the route has changed until you come up against the challenge. If you sit and wait at a corner... that’s exactly what you’ll be doing, because you need to progress with your opponents to see where the track will unfold next!
DB: Not every race is a Live Route, but does every course have a Live Route version?
IS: No, the LiveRoutes system was designed for city tracks, where the junctions have logically branching pathways – where we can make those dynamic changes of left, right, straight-on or U-turning the player. It really plays to the strengths of those cities, where you can identify familiar architecture and points of reference such as tunnels and bridges, but still keep the racing line morphing organically.
So what do you think about Live Routes? Does it make you more excited for GRID 2 or do you prefer more fixed tracks? Let us know in the comments below and look for our review later this month when GRID 2 releases for PC, PS3, and Xbox 360.

Greetings, it's been a while since we've had a new episode of BackTrack, GT's series on the music of video games, but next week the show is coming back in a big way. On Wednesday March 20th, we're launching Composing BioShock, a two-part special, going deep into the music of Rapture and Columbia with series composer Garry Schyman.
Episode one covers the motivations and techniques used in BioShock and BioShock 2, including commentary from BioShock Audio Director Emily Ridgway about the use of licensed music, score, and even the concept of not having music running through the entirety of the game. Soon afterwards, watch for Composing BioShock Infinite as we get an early listen to the score and continue our conversation with Schyman about the new musical avenues he explores to complement this wondrous city in the sky.
Then join us as BackTrack continues through the month of April, looking back on more of our favorite video game scores. If you enjoy our other originals like GT Retrospectives and the newly launched Trailer Academy, be sure to check it out. It all begins next Wednesday at 6:00 AM PT. We look forward to seeing you there!

After years in the dark, the latest entry in the Thief franchise has been revealed on the latest cover of Game Informer. Previously known as Thief 4 or Thi4f, it seems calmer heads prevailed, and the new game is now simply titled Thief. Developed by Eidos Montreal, the same team behind Deus Ex: Human Revolution, Thief is due to release on PlayStation 4, PC, and other next-gen platforms in 2014. Like Deus Ex before it, the team hopes to give Thief a fresh start while staying true to the series heritage. As the name suggests, you'll be tasked with stealing everything you can get your hands on, taking advantage of multiple pathways to make your way through each level without detection.
Are you excited to see Thief finally return? Ready for a new stealth game from Eidos Montreal? Or just happy to see a game announced explicitly for next-gen with no mention (so far) of Xbox 360 or PS3? Hit us up in the comments below.

As originally reported last night by Kotaku, Respawn Entertainment has now confirmed that co-founder and Call of Duty creator Jason West has left the company to take care of family issues. The statement from fellow Infinity Ward veteran Vince Zampella also confirms that the company's first game will be making its debut at E3.
Jason has left Respawn to take care of some family issues. We have worked together on some amazing accomplishments over the years, starting with an early Segasoft project that never shipped. It is sad to see things come to an end, but there are times when change is best for growth, both personally and professionally. I wish Jason the best and send my best wishes to his family. Respawn continues to amaze me, the team here is resilient and talented. E3 will be therapeutic for us, as we finally get to start showing our work again. I know the team was excited about the response we got from just admitting we were going to attend.
Founded by West and Zampella in April 2010, Respawn Entertainment has been watched closely by fans waiting to see how the duo would follow up on the phenomenal success of the Call of Duty franchise. According to Kotaku's sources, West left in May of last year after settling their lawsuit against Activision and he was not involved with Respawn's first project. We wish Jason and his family the best, and hope he can return to the industry in the future.

Starting today Steam users can access a beta version of Skyrim update 1.9, which is due to go wide and reach console players later this month. The main additions are a Legendary difficulty setting and the ability to set maxed out skills to Legendary, resetting them to 15 and essentially allowing you to level up infinitely. It also includes a massive bug fix, addressing everything from NPCs equipping gear more effectively to people getting stuck in coffins.
BUG FIXES
General memory and stability improvements
Fixed issue with quest scripts that were not shutting down properly
Companions will equip better weapons and armor if given to them
Fixed rare issue where player is unable to learn the Clear Skies shout during “The Throat of the World”
Fixed rare instance where Alduin would become invincible during “Alduin’s Bane”
Fixed a rare issue where player could become stuck in Night Mother’s coffin during “Death Incarnate”
Fixed rare issue where protected companions could be killed from poison damage
Fixed rare issue with certain ash piles left from resurrected NPCs not clearing properly
Fixed rare issue with NPCs and creatures respawning improperly after player fast travels
Fixed rare crash when entering Dark Brotherhood Sanctuary
Fixed rare crash when entering a player owned home
Random dragon attacks will no longer occur during “Battle for Whiterun”
Fixed a rare crash when attempting to save your game during “Waking Nightmare”
Fixed issue where “Glory of the Undead” would not start properly if player is in combat with Eorlund Gray-Mane
The white phial is no longer consumed if given to a follower
If player marries Aela, the “Totem of Hircine” quest will be available
Unused briar hearts can be dropped after finishing “The White Phial”
Fixed issue with paying off a crime against the Companions that prevented player from getting Companions quests properly
Thieves Guild caches are now properly enabled in the appropriate cities
The Dragon Infusion perk now works properly when taking Esbern’s Potion
Cragslane Cave properly resets if player receives a radiant quest to clear it out
Fixed rare issue with bounty quest objectives not properly clearing after completion
Gallus’ Encoded Journal is no longer a quest item after completing the Thieves Guild
In “No Stone Unturned” Vex will now accept Unusual Gems if you’ve collected them all before starting the quest
Vekel the Man now gives rewards for completing “Toying with The Dead”
Fixed rare issue with being unable to turn in stolen items in “The Litany of Larceny”
Fixed issue with followers becoming over-encumbered after being repeatedly rehired
Fixed rare issue with visiting Kynesgrove on horseback not progressing “A Blade in the Dark” properly
Fixed issue with receiving a duplicate radiant quest from a Jarl
Fixed conflict with clearing Driftshade Sanctuary before starting “Trouble in Skyrim”
Fixed issue with using shouts while in jail and having guards unlock the jail cell
Fixed rare issue with quest NPCs not properly moving to quest locations
Fixed issue with NPCs not selling master level spells
Fixed rare issue where player gets control locked outside the Thalmor Embassy at the start of “Diplomatic Immunity”
Fixed rare issue with disappearing containers after upgrades in player owned house
Fixed issue with being erroneously attacked while as a werewolf during “Ill Met By Moonlight”
The Ebony Blade is now only improved by two handed perks
Locked door to Proudspire Manor can now be unlocked by proper key
Fixed issue with merchants not receiving the proper additional gold with the Investor perk
Fixed a rare issue where the player would be unable to learn a word after leaving for several days during “The Way of The Voice”
The Nord Hero Bow can now be improved
The Purity perk no longer requires the Experimenter perk
Fixed rare instance where Lovers Comfort would not be applied properly
If you approach Frostmere Crypt from the north, “The Pale Lady” will start properly
Fixed rare issue where player could be prevented from speaking with Atub to start “The Cursed Tribe”
Fixed rare issue where a dragon could appear in the Mind of a Madman realm and kill the player
Fixed instance where player could get stuck in Japhet’s Folly
Fixed rare instances where Arngeir would not teach Worldwind Sprint
Fixed issue with “Ill Met By Moonlight” if Sinding dies before the quest starts
Gharol can now properly train up to level 75
Fixed conflict with visiting The Karthspire before starting “Alduin’s Wall”
Reduced the instance of random dragon attacks after fast traveling post main quest
Recruited Blades now have appropriate dialogue while at Sky Haven Temple
Fixed rare issue where an incorrect dungeon could appear as a location during “Totems of Hircine”
Fixed rare instance in “Fetch me that Book” where books found before getting the quest would not be properly recognized
Fixed rare issue with traveling to Thalmor Embassy with companions during “Diplomatic Immunity”
Fixed issues with Matching Set perk not working properly with certain pieces of armor
Fixed issues with Custom Fit perk not working properly with certain pieces of armor
Fixed issue with NPC dying in a bear trap blocking progress in “Time of My Need”
Fixed rare issue with swinging door becoming stuck and blocking an entrance in Volunruud
Imperial Light Armor can now be crafted
Fixed issue with “Vald’s Debt” where Vald was not leveled properly
Fixed issue with Vilkas not giving proper greeting after completing “Battle for Whiterun”
Fixed issue with respawning actors that were raised by using the Ritual Stone power
Fixed issue with the Ancient Knowledge perk not calculating properly
The Palace of Kings now has patrolling guards on upper floors
Reduce percentage chance of getting a werewolf loading screen while player is a werewolf
Pantea’s flute is no longer a quest item after completing “Pantea’s Flute”
Placing an unread Oghma Infinium on a bookshelf in the player’s house no longer allows the book to be reused again
Adjusted dialogue priority to improve chances of hearing more combat dialogue from certain NPC enemies
Fixed issue with falling damage on high difficulty levels
Fixed bad collision on certain clutter objects
Fixed rare instance of couriers who would appear only dressed in a hat
That's a lot of bug squashing. Let's just hope the beta testing goes well, and it doesn't break anything else in the process. We don't want to see more backwards flying dragons. (Ok, maybe we do.) For info on how to access the beta update, head over to the Bethesda Blog.

Nintendo fans headed to Austin this weekend can get their hands on several new games ahead of release, not least of which are the long-awaited Pikmin 3 and Animal Crossing: New Leaf, which has been firing up the sales charts in Japan. See below for the full list and details.
Running from 3:00 - 9:00 PM on Friday and 12:00 - 8:00 PM Saturday and Sunday, the SXSW Gaming Expo at the Palmer Events Center will host a range of Wii U and 3DS titles for attendees to try. Here's the full lineup:
Wii U:
Pikmin 3
The Wonderful 101
LEGO City Undercover
Monster Hunter 3 Ultimate
Need for Speed Most Wanted U
Wii Street U powered by Google
New Super Mario Bros. U
Nintendo Land
Nintendo 3DS:
Luigi’s Mansion: Dark Moon
Animal Crossing: New Leaf (guided demonstration)
LEGO City Undercover: The Chase Begins
Pokémon Mystery Dungeon: Gates to Infinity
Kersploosh!
HarmoKnight
Monster Hunter 3 Ultimate
Castlevania: Lords of Shadow – Mirror of Fate
Fire Emblem Awakening
It sounds like a great opportunity for Wii U owners to get a better grasp on titles like LEGO City Undercover and The Wonderful 101. If you're unsure about braving the crowds, check out this Pikmin 3 trailer to whet your appetite.